This film would appear to be a case where a well-intentioned producer, or enclave of producers, noticed a public sake in conceptually high-class and apparently erudite topic matter, combined with more sedate pop music report elements, like serial murder ( Se7en ) or overcoming emotional/psychological issues ( Good Will Hunting/A Beautiful Mind ).

The problem appears to be that they turned the screen writing job over to hacks.

I know that ‘s a brutal thing to say, but it truly does appear to be the case.

The film tries to wed serial mangle and academic philosophic brooding, but fails. actually, it tries to bring quite the overplus of de rigueur elements together, and mismanages the whole affair. You have all kinds of messy stuff, and an absence of any very compel myth to bind it in concert, or tied to effectively humanize the characters. You have John Hurt striving valiantly to imbue each fit he works with warmheartedness and sensitivity, but he fails against the tide of bad overall conception/development. on the spur of the moment, Wood is dallying with his stewardess ‘ daughter. Where did that arrive from ? then, she ‘s harebrained at him for arriving home late. Was she expecting him ? late, she apologizes, and they seem to have arrived at some kind of cozy platonic status quo. Why ? And she plays the cello. Uh, are we supposed to assume that an interest in contemporary orchestral corps de ballet work functions as a hedge against emotional irrelevance ? This was all fast, mindless, and just one example of many, many instances where presumably emotionally resonant moments float in a mutually disconnected vacuum.

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And address of resonant moments, it ‘s possible that some directorial stringency might have redeemed the script slightly, though I ‘m not sure. It appears to be a case where the director accepted the script as-is, directed individual scenes deoxyadenosine monophosphate well as potential, then handed the footage over to editing ; possibly they could make sense where he could n’t. There actually seemed to be only the faintest inkling of an sympathize of any kind of move toward a redemptive overall storyline. I guess I ‘m saying that the narrative buck needed to have stopped with the narrators, but alternatively got passed, ineffectually, along the production line in the process, until we see the sawhorse being passed right out our screens and into our laps : The narrators did n’t know what they were after — or did n’t have the trade to pull it off — could the film director handle it ? The conductor could n’t handle it ; could the editors make up for the oversight ? The editors tried as best they could ; if they ca n’t make gold out of crap footage, could the viewer kindly oblige and excavation something meaningful out of this mire of abrupt emoting interlaced with confused pedantry ? By now, I think you get the idea. badly : If you ‘re an draw a bead on screenwriter, WATCH THIS MOVIE. I daresay it ‘s a textbook case.

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I ‘m just having one more thinking. It is *just possible* that the script is oklahoma, but we ‘re actually witnessing a combination of regretful direction and editing mangling it. I would guess it ‘s improbable, but it *is* possible.

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